Wednesday, July 29, 2009

So the understanding "is" that as Steven portrays as been spoken of before by Clifford or by associates in proximity, that his views reveal the status from which the top down has located this experimental validation as to what is self evidential with regard to the Aristotelian arch. The QGP.

For those who understand what I am saying, will be too understand the unification process of the deductive/inductive approach toward thinking in this exercise.

Unfortunately, the repair necessitates a partial warm-up of both sectors. This involves the end sub-sector being warmed to room temperature, while the adjacent sub-sector "floats" in temperature and the remainder of the sector is kept at 80 K. As the leak is from the helium circuit to the insulating vacuum, the repair work will have no impact on the vacuum in the beam pipe. However the intervention will have an impact on the schedule for the restart. It is now foreseen that the LHC will be closed and ready for beam injection by mid-November.See: The latest from the LHC

Bold added for emphasis by me.

So indeed there is the physical apparatus for experimentation in effective methods to discernment that needs physical correction and in no ways speaks to the holes per say, but rely on the understanding that such a "theoretical concern" is by what is revealed in extremities of cold and heat, that can be correlated same.

One of my interests is to what is the "loss of energy" that we might understand where it has gone, that we say "dimensional significance" to explain this loss fully understanding the quantity and energy value first assign the experiment.

So how and what is this loss attributed too?

Some thinking here in terms of "Dirac's hole" to think that if "i" is introduced in the axiom(matrice) then it presents the geometrical necessity of movement in non euclidean thinking, as to movement of dynamical processes?

So I speculated as to the nature of "continuity of expression" that arises from my cosmological view of "birth of this universe." To say that in this example, this universe was produced "from a hole" that allowed transmission of energy to move "through a conduit" to this side of the universe in expression. Just as dimensional relation may be perceived of, as in "energy loss" from it's original state as in the LHC calculations.

Our work is about comparing the data we collect in the STAR detector with modern calculations, so that we can write down equations on paper that exactly describe how the quark-gluon plasma behaves," says Jerome Lauret from Brookhaven National Laboratory. "One of the most important assumptions we've made is that, for very intense collisions, the quark-gluon plasma behaves according to hydrodynamic calculations in which the matter is like a liquid that flows with no viscosity whatsoever."

Proving that under certain conditions the quark-gluon plasma behaves according to such calculations is an exciting discovery for physicists, as it brings them a little closer to understanding how matter behaves at very small scales. But the challenge remains to determine the properties of the plasma under other conditions.

"We want to measure when the quark-gluon plasma behaves like a perfect fluid with zero viscosity, and when it doesn't," says Lauret. "When it doesn't match our calculations, what parameters do we have to change? If we can put everything together, we might have a model that reproduces everything we see in our detector."See:Probing the Perfect Liquid with the STAR Grid

So, fragmented images arise in my mind as to the "collision process in that moment" to reveal the continuance of the universe "from black holes." These local views toward reductionist methods as in "top down" toward located experiential validation point is "self evident," as to explain, where this process started.

So questions arise as to what is fundamental about energy that it could be in one state and exist as a "momentum expressive view" as to changing to this universe in relation? It means that it had to exist "prior." How many ways can it then be expressed from and about, that it could exist in the one schematic form, to become, all that it is afterward in physical form?

Without this intent, it could have not manifested as otherwise, and is lost to all probable accounting, so that there was no way to ascertain that humanity could exist this way as it does, or, that the universe could be as it is.

Dimensional significance is related to architectural geometry realized as this energy changes "to form" yet in uncertainty as to say how it will become this way?

This does not lesson my views on what exists first "as a pattern" could be surmised to be energy in it's first form of imagery. To have it become, and in this way ascertain to believe, that we are indeed in control of our destiny as to say that the "formative images of mind" are therefor patterns for the future.

Monday, July 20, 2009

By education, the divine essence of man may be unfolded, brought out, lifted into consciousness byFriedrich Fröbel

It may not be of interest to many that this pursuance of mine is a journey into understanding features of consciousness that some may not like to admit are an important part of science and theoretics "in my view." To have it as a guide for mind mapping of sorts. To what and how the universe expresses itself. How the soul can devise it's own map of expression as if toward "higg's forming mission" from a leading perspective, which then becomes integrated into the world as an object/person this represents.

Physically, the effect can be interpreted as an object moving from the "false vacuum" (where = 0) to the more stable "true vacuum" (where = v). Gravitationally, it is similar to the more familiar case of moving from the hilltop to the valley. In the case of Higgs field, the transformation is accompanied with a "phase change", which endows mass to some of the particles

So where is it I place my eye( is it the physical or mental observer) as I look through the Kaleidoscope? The lens is the energy(sun) it's motivation toward a multifaceted frame work, that it can be mastered to become meaningful to the reasoning mind to say, that this pattern rests in nature, and also rests, in my own soul. So the energy highlights both examples to say that I was able to pattern this expression, so as to which so many of us do, to be what is normal in the structure of this human form to allow this soul to express itself in the object of this reality. How "fine its shape" that it does not discard the understanding of the geometry that allowed it to express itself from a soul in expression to a euclidean straight line, to become the hyperbolic generated in non-euclidean.

Known to the ancient Greeks, it was reinvented by Sir David Brewster in 1816 while conducting experiments on light polarization; Brewster patented it in 1817. His initial design was a tube with pairs of mirrors at one end, and pairs of translucent disks at the other, and beads between the two. Initially intended as a science tool, the kaleidoscope was quickly copied as a toy. Brewster believed he would make money from his popular invention; however, a fault in the wording of his patent allowed others to copy his invention.[citation needed]

In America, Charles Bush popularized the kaleidoscope. Today, these early products often sell for over $1,000. Cozy Baker collected kaleidoscopes and wrote books about a few of the artists who were making them in the 1970s through 2000. Baker is credited with energizing a renaissance in kaleidoscope-making in America. In 1999 a short lived magazine dedicated to kaleidoscopes called Kaleidoscope Review was published covering artists, collectors, dealers, events, and how-to articles. This magazine was created and edited by Brett Bensley, at that time a well known kaleidoscope artist and resource on kaleidoscope information.

Craft galleries often carry a few, while others specialize in them and carry dozens of different types from different artists and craftspeople.

Kaleidoscopes are related to hyperbolic geometry.

So it is not quite as accurate as I would like to be in my quest to define what it is I am seeing and be as plain as possible. It's as if you could not know that with a current view of the First Three Minutes of Steven Weinberg, it wasn't enough in order to become much more dynamical to have our perception pushed back to the microseconds and see the universe in this new way.

The hyperbola is often encountered but rarely recognized in everyday life as the apparent shape of a circle, of which some portion is behind the viewer, as when standing inside a circle on the ground gazing horizontally, or holding a hula hoop around the body. If rays from the part of the circle behind the viewer could somehow pass through the head and thence through the lens, they would register on the retina as the second branch thereby exposing the hyperbolic structure.

So the difficulty stems in my mind from how and where I am looking from, as if I look through the Kaleidoscope to see the energy fragmented and schematic in origins, to see that it is patterned in the psychological assessment of my searching for the "fabric of consciousness" to be capable and expressive of this energy. To lead the reality forming apparatus "to exist" through such patterning as to form a hyperbolic expression from the beginnings of the ability to then become the "pattern in nature."

So, as if the momentum of the expression of this universe is a expression of, something false to the true vacuum, then how shall this be demonstrated? How shall this be demonstrated in the soul?

Thales the Father of Mathematics may have said that water was the basis of all that exists and in such continuity of expression such an expression seems fitting for the birth of language to speak to the labels we assign with such wording that it would not have implied something other then what we came into this world to express.

But with the ability to choose circumstance by attitude and endeavour, by our character to display, then what reaps the rewarding soul but to find what it rightfully choose to experience is not all happenstance but always there is the same way for review as it was to look back to the origins of our patterning before we manifested into this life?

Monday, July 13, 2009

A contemporary mandala made from a photograph of tree fungi.See:Mandala

On another level it meant that what Plato saw a a description of the cave experience was also an orientation of perspective internally as well recognition in the external world of at the source of the sun propelling experience as it's motivation.

Such an attempt to describe all of nature according a plan was a simple desire to identify what follows as a example of what the intent of Plato wished to express, in my point of view. This was not just an external notation of the meaning of outward manifestation but was also a recognition of the internal description of what we as souls were motivated to express in our own architectural designation of experience so as to learn and understand.

Some of the things I have learnt over the years has to do with understanding how returning to a "basic underlying structure toward the reality of subjective interpretation" was a method of some meaning when spoken of in terms of mandalas presented to the observing mind for observation while in a deep subjective state. Total involvement and then recognizing from "another perspective[who is this observer]" could explain how such expression could by designation of character was sought to signified in our adoption of form.

Early types of distillation were known to the Babylonians in Mesopotamia (in what is now Iraq) from at least the 2nd millennium BC.[1] Archaeological excavations in northwest Pakistan have yielded evidence that the distillation of alcohol was known in Pakistan since 500 BC,[2] but only became common between 150 BC - 350 AD.[2] Distillation was later known to Greek alchemists from the 1st century AD,[3][4][5] and the later development of large-scale distillation apparatus occurred in response to demands for spirits.[3] According to K. B. Hoffmann the earliest mention of "destillatio per descensum" occurs in the writings of Aetius, a Greek physician from the 5th century.[6] Hypatia of Alexandria is credited with having invented an early distillation apparatus,[7] and the first clear description of early apparatus for distillation is given by Zosimos of Panopolis in the fourth century.[5] Primitive tribes of India used a method of distillation for producing Mahuda liquor. This crude and ancient method is not very effective.[8]See:Distillation

While I have sometimes alloted it to an experience of an event and memory historically describing patterned, this is a distillate of the experience that is like a "mind map" if you like, as to what explodes on the surface of observation repeated in all the coverings of lines, as experience. Who is observing?

Why I held for so long to those lines which describe Euclid's postulates as an experience further extrapolated to become a toposense of experience in movement. Much as, "grokking" the world, is to consume and digest to describe it's historical lineage as a movement of sorts, to describe life in this way.

The kaleidoscope was perfected by Sir David Brewster, a Scottish scientist, in 1816. This technological invention, whose function is literally the production of beauty, or rather its observation, was etymologically a typical aesthetic form of the nineteenth century - one bound up with disinterested contemplation. (The etymology of the word is formed from kalos (beautiful), eidos (form) and scopos (watcher) - "watcher of beautiful shapes".) The invention is enjoying a second life today - as the model for many contemporary abstract works. In Olafur Eliasson's Kaleidoscope (2001), the viewer takes the place of the pieces of glass, producing a myriad of images. In an inversion of the situation involved in the classic kaleidoscope, the watcher becomes the watched. In Jim Drain's Kaleidoscope (2003), the viewer is also plunged physically inside the myriad of abstract forms, and his image becomes a part of the environment. Spin My Wheel (2003), by Lori Hersberger, also forms a painting that is developed in space, spilling beyond the frame of the picture, its projected image constantly changing, dissolving the surrounding world with an infinite play of reflections in fragments of broken mirror. The viewer becomes one of the subjects of the piece. (Not the subject, as in Eliasson's work, but one of its subjects.)See: The End of Perspective-Vincent Pécoil.

While subjectively living the experience it may seem that nothing more can be of use as one describes that experience is and amounts too. So it's conclusiveness helps to steer the mind to events as an outcome of and a direction set in life.

So the basic pattern is never separate from while from another point of view such polytopes construction would have appear in lines distinct of itself to point out that a motive force is further enshrined in the outward expressiveness of this movement toward the real world manifestation as an object of experience. Cosmologically real for the soul in an outward expressiveness held in the body form.

This is not a "ego centric orientation," but a recognition of the energy as it is propelled outward by the soul's desire to be part of the reality and experience this world affords us.

Thursday, July 02, 2009

"Gravity cannot be held responsible for people falling in love. Albert Einstein"

Some ruminations seem to settle in my mind, yet held by a wanting of scientific principal and treaty? Where in such a misinterpretation materialized that I could have gone this way and that about a condition that is subjective, yet, considered in relativistic terms "theoretically real?" Please feel free and do not be afraid to correct below.

One would have needed some insight as to the measure of, in order to understand how fleeting a space of time could be measured and how quickly time can go by. Time in duration then can seem most startling and long when held to other emotions, where the circumspection of a wider perspective on life can be severely constraint. Gravity is like that, and love is not held to the same context, yet, in relation to time, love seems to be contained in no "real volume of space." It seems it can pervade throughout. Love is timeless and thusly pervades all space.

If held to such thinking and the moment is realized, then for that briefest of appearances the love wafting throughout all space will then have come to rest for it's very briefest point while it sits amidst all emotive recognitions where gravity is contained? So for love to be real then, and pervade the background of all existence, then I could too seem to think the super-symmetricalness of love is timeless, and where for briefness of moments such a case could have been exemplified once contained to a four dimensional world.

The Science of SpaceA new academic research facility for physicists establishes a striking iconographic presence in Waterloo.By: David Theodore

Founded in 2001, the Perimeter Institute for Theoretical Physics is an independent resident-based academic organization devoted to exploring topics like quantum gravity and string theory. This young institution opened a brand new $24.5-million home in October 2004. Constructed over an old landfill on the edge of uptown Waterloo, Ontario, the black and grey building is a striking 6,000-square-metre concrete and glass warped prism.

Perimeter, along with New College Residence and the CCIT building at the University of Toronto, marks the first work west of the Quebec-Ontario border--and the first major extra-provincial buildings by a Montreal firm of their generation--for Montreal-based Saucier + Perrotte architectes. In J.B. Jackson's seminal 1953 essay "The Westward-Moving House," the geographer poetically argues that as the frontier moved west, emerging social values and construction techniques fundamentally changed the American home. Moving west in Canada holds similar promise for Perimeter's designers. "You have to build elsewhere to know who you really are," said principal Gilles Saucier. "It's the first time we were able to give ourselves that kind of freedom of expression."

Perimeter is a university building, but one without a campus or a building tradition to harmonize with. The first task, then, was to find appropriate symbols that link architecture to theoretical physics. According to Saucier, our perception of the striking south façade is designed to mimic the experience we might have when confronting esoteric scientific discourse. Ventilation grilles and window openings framed with mirrors punctuate the surface of black anodized aluminum panels, creating a façade whose image changes with different lighting and weather conditions. At first we might be baffled by the envelope's complexity, but then we can always "make an effort" to understand the design.See:The Science of Space

So while Howard Burton would have liked to consider "only" the special interest of those educated to the realms of by, subtraction or addition of wording, like destitute, or Un-versed, or ignorant, or uninterested to be filled by Plato's mentionable motto, it is by understanding that Plato undertook the realization to move them to a "consuming feature of having understood the geometrics place" in all excursions, trying to explain the reality?

There were a few other, unique touches I had some fun with. Legend has it that glowering over the entrance to Plato's Academy was the phrase, "Let none ignorant of geometry enter here." Tipping our metaphorical hat to rigour of the Ancient Greeks while simultaneously invoking our outreach mandate, I contacted a classicist so that I could eventually inscribe a Greek translation of"Let no one uninterested in Geometry enter here" over both the the north and south doors of the building. It's possible that some wilful geometrical ignoramuses could penetrate the facility through another entrance, of course, but they'd have to go to a fair amount of trouble to do so.First Principles by Howard Burton, page 244, para 2 and page 245

That some of us might have ideas about "mapping of information and presentation from historical backgrounds" does not in any way limit the exposure of and understanding geometrics places before the new generation of thinkers. So I might feel some attachment to the fates of something beyond us(polytopes in uteri), that could write the predictions as to course of events as they unfold, as something meaningful in solidification, yet, not disregard the implication of absolving the self of being responsible, whether they choose to act one way or another.

Well. I hesitated for a bit, proffering a few encouraging comments for the sake of balance before erupting with a laundry list of various improvements, culminating with: "why the hell do you have horoscopes in your paper? Don't you see that it's a bloody embarrassment for an allegedly sophisticated publication to promote this kind of idiocy in the twenty-first century? Take them out!" First Principles by Howard Burton, page 190, para 2

Howard might not know of Sir Isaac Newton's journey with Alchemy or the distaste with which this topic is handled to realize that the ancients thought of a purification process using flasks and such was psychologically embedded in the acts of making the person or individual "a better person." So metaphorically these experiments into the elementals were as much a part of chemistry and discovery, as they were of finding perfection within the self. The basis of this alchemical association was embedded in astrology's aspects of fire on matter air to expose it's elements with distillation and thusly liquefied in emotive consequence

This is nether spoken of to deter fundamental responsibility when it comes to science and our youth but to implore one to realize that the ancient ways had been long forgotten, and such wide sweeping statements easily disregarded as the unethical condition such a newspaper can now be covered, is covered by Howard's statement.

Plato believed at first that Mathematics would be the key to Thought, but in the Meno he abandons hope in the context of a few sentences, which we have constantly misread. This paper examine that crux.

No reader of Plato can fail to recognize the important role which mathematics plays in his writing, as would indeed be expected for an author about whom the ancient tradition maintains that he had hung over the entry to his school the words "Let No One Un-versed in Geometry Enter". Presumably it was the level of ability to work with abstract concepts that Plato was interested in primarily, but if the student really had never studied Greek geometric materials there would be many passages in the lectures which would be scarcely intelligible to him. Modern readers, versed in a much higher level of mathematical abstraction which our society can offer, have sometimes felt that Plato's famous "mathematical examples'" were illustrations rather than central to his arguments, and some of Plato's mathematical excursuses have remained obscure to the present time. See:PLATO-Mathematician or Mystic ?

Think about this then when one enters the doorway and what Plato ideals respectfully ask of you as you enter that PI institute. It's an ole tradition of Plato's that is re-enacted in the "soul plate" and mission statement of starting the academy. Not all with this geometrical understanding will understand this ,and a few now, should take notice.